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Saturday, January 12, 2013

Our First TWO Readings! Please complete for the first day!

Welcome to our course website still under construction! Bookmark this site because we will be using it for every class this term! Looking forward to meeting you all!

Through this coming weekend and beginning of next week the syllabus will come to live here, and the first of our class presentations will too. Some bits of the syllabus will remain yet to do deliberately. I want to meet with you all personally and, since we have a nice seminar-sized class, tailor the course to your special interests.

BUT WE HAVE TWO READINGS TO DO FOR THE FIRST DAY and our very first discussion! A story and a author view of writing and thinking about SF.

• I came across this story on facebook not too long ago. I have posted a screen shot to the site where you can read it. (Lots of graphics posted here will also be links as this one is. Be sure to check to see.)

QUESTIONS TO CONSIDER AND COME WITH IDEAS TO SHARE ABOUT:
How does this story fit into your ideas of SF? Does it violate any of your assumptions about SF? If so, which ones? Is it a feminist story? How can you tell? (are you a "lumper" or a "splitter"? Do you know what that means?) ???

• An essay from a well known feminist SF writer on how to write a feminist story. See what YOU think! Le Guin, U.(1989). “The Carrier Bag Theory of Fiction." In Dancing at the Edge of the World: Thoughts on Words, Women, Places. Grove. (on website) Remember to click pics! And notice that I think the Wikipedia is very useful for popular culture, among other things. And I do believe in citation as well! ===And what's this? come in with ideas about it to share!!!

"The Secret Feminist Cabal is an extended answer to the question Helen Merrick asks in her introduction: ''why do I read feminist sf?'' In this wide-ranging cultural history we are introduced to a multiplicity of sf feminisms as Merrick takes readers on a tour of the early days of sf fandom, tracks the upheavals of the 1950s and 1960s and the explosions of feminist sf in the 1970s, and contextualizes subsequent developments in feminist sf scholarship. Her history is expansive and inclusive: it ranges from North America to the UK to Australia; it tells us about readers, fans, and academics as well as about writers, editors, and publishers; and it examines the often uneasy intersections of feminist theory and popular culture. Merrick brings things up to date with considerations of feminist cyberfiction and feminist science and technology studies, and she concludes with an intriguing review of the Tiptree Award as it illuminates current debates in the feminist sf community. Broadly informed, theoretically astute, and often revisionary, The Secret Feminist Cabal is an indispensable social and cultural history of the girls who have been plugged into science fiction. --Vernoica Hollinger, ed. Edging into the Future"

"James Tiptree, Jr., burst onto the science fiction scene in the late 1960s with a series of hard-edged, provocative stories. He redefined the genre with such classics as Houston, Houston, Do You Read? and The Women Men Don't See. For nearly ten years he wrote and carried on intimate correspondences with other writers--Philip K. Dick, Harlan Ellison, and Ursula K. Le Guin, though none of them knew his true identity. Then the cover was blown on his alter ego: "he" was actually a sixty-one-year-old woman named Alice Bradley Sheldon. A feminist, she took a male name as a joke--and found the voice to write her stories. Based on extensive research, exclusive interviews, and full access to Alice Sheldon's papers, Julie Phillips has penned a biography of a profoundly original writer and a woman far ahead of her time. -- Google books"

"The heart of Johnson's argument is something called the Sleeper Curve--a universe of popular entertainment that trends, intellectually speaking, ever upward, so that today's pop-culture consumer has to do more "cognitive work"--making snap decisions and coming up with long-term strategies in role-playing video games, for example, or mastering new virtual environments on the Internet-- than ever before. Johnson makes a compelling case that even today's least nutritional TV junk food–the Joe Millionaires and Survivors so commonly derided as evidence of America's cultural decline--is more complex and stimulating, in terms of plot complexity and the amount of external information viewers need to understand them, than the Love Boats and I Love Lucys that preceded it. When it comes to television, even (perhaps especially) crappy television, Johnson argues, "the content is less interesting than the cognitive work the show elicits from your mind." Johnson's work has been controversial, as befits a writer willing to challenge wisdom so conventional it has ossified into accepted truth. But even the most skeptical readers should be captivated by the intriguing questions Johnson raises, whether or not they choose to accept his answers. --Erica C. Barnett"

"A perfect introduction for new readers and a must-have for avid fans, this New York Times Notable Book includes “Bloodchild,” winner of both the Hugo and the Nebula awards and “Speech Sounds,” winner of the Hugo Award. Appearing in print for the first time, “Amnesty” is a story of a woman aptly named Noah who works to negotiate the tense and co-dependent relationship between humans and a species of invaders. Also new to this collection is “The Book of Martha” which asks: What would you do if God granted you the ability—and responsibility—to save humanity from itself? -- Seven Stories Press."

"Living in an altered past that never saw the end of the Great Depression, Jeannine, a librarian, is waiting to be married. Joanna lives in a different version of reality: she's a 1970s feminist trying to succeed in a man's world. Janet is from Whileaway, a utopian earth where only women exist. And Jael is a warrior with steel teeth and catlike retractable claws, from an earth with separate-and warring-female and male societies. When these four women meet, the results are startling, outrageous, and subversive. -- Beacon."

Katie’s office hours:Katie is often available for talk and concerns right after each class; her regular office hours are on Wednesdays at either 2:30-4 pm or at 4-6 pm. The SignIn Sheet tells you which it is this week. There is a calendar outside Katie's door that says so too. And you can see which it is on Katie's website, under NEWS! On the last Wednesday of the month Katie tries to have extended office hours from 2:30 to 5:30.

Katie’s social hours:these are on Wednesdays at either 2:30-4 pm, or at 4-6 pm, alternately with office hours. These too are noted on the calendar outside Katie's door as well as on Katie's website, under NEWS! On the last Tuesday of the month Katie shifts social hours to that day, from 5-7 pm. What are social hours? a time to drop by to talk to Katie and whoever else shows up, other students, both undergrad and grad, occasionally faculty and staff, or even folks in the area.

Conversations with Irene: these are also on Wednesdays, from 11-12. Irene Xue (email: ixue@terpmail.umd.edu ) is the teaching assistant for our class, who is offering her own drop in times for students to talk about feminisms, science fiction, second life, or anything else that comes up in class that you hope to learn more about, or just share more about. FLYER

Design Fiction

“How do you entangle design, science, fact and fiction in order to create this practice called ‘design fiction’ that, hopefully, provides different, undisciplined ways of envisioning new kinds of environments, artifacts and practices.... Design Fiction is making things that tell stories. It’s like science-fiction in that the stories bring into focus certain matters-of-concern, such as how life is lived, questioning how technology is used and its implications, speculating bout the course of events; all of the unique abilities of science-fiction to incite imagination-filling conversations about alternative futures. ...It’s meant to encourage truly undisciplined approaches to making and circulating culture by ignoring disciplines that have invested so much in erecting boundaries between pragmatics and imagination.” (Bleecker 2009)

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About Me

I am Professor of Women's Studies at the University of Maryland, College Park, and a Fellow of the Maryland Institute for Technology in the Humanities (MITH). My Ph.D. is from the History of Consciousness at the University of California, Santa Cruz, with interdisciplinary scholarship located at a juncture of feminist technoscience studies, intersectional digital cultures and media studies, and LGBT Studies. I have published two books, Theory in its Feminist Travels: Conversations in U.S. women's movements (Indiana, 1994) and Networked Reenactments: Stories transdisciplinary knowledges tell (Duke, 2011) and am now working on
Attaching, for Climate Change: a sympoiesis of media, and Demonstrations and Experiments: Quaker women at the origins of modern Science.